Nikon AF-S NIKKOR 35mm f/1.4G Lens

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Indeed, this is also where the Tamron steps ahead of the competition, once again. Color fringing/aberration and coma/astigmatism are impressively near-zero, which is very important when photographing certain things like nightscapes or cityscapes. Whether you choose the new 70-200mm f/2.8S FL VR or older versions, you will be happy to see that sharpness and color are outstanding at all focal lengths, while the bokeh is also superb. The only complaint that I have about the 70-200mm is its weight – it can be quite painful to carry around on a full day wedding. NIKON D810 + 70-200mm f/2.8 @ 70mm, ISO 100, 1/320, f/4.0 I leave mine at home; the 35 1.8 has no flare. The only practical reason for the hood is to protect the front of the lens from damage or fingers. And here is another shot at f/2.8: NIKON D700 + 35mm f/1.4 @ 35mm, ISO 200, 1/200, f/2.8 Vignetting To be honest, we’re getting pretty accustomed to third-party lenses being rather robust and solid these days. That’s a very welcome experience, however, I still look closely and try to get a feel for the actual strength and feel of any new gear that gets sent my way. Just because a lens is heavy, doesn’t mean it’s well-engineered and durable.

For now, here’s the 100% crop sharpness test you all want to see: The Tamron SP 35mm f/1.4 versus the Sigma 35mm f/1.4 Art… The Nikon 35mm f/1.8 G has some barrel distortion, about the same as Nikon's 35mm f/2 manual-focus lens or the 35/2 AF-D. The 35mm f/2.8 AI has less distortion, and Nikon's zooms have a lot more.Don’t pay much attention to corner performance – it is typically unimportant for portrait lenses, since you would rarely place your subjects in the corners. These are provided simply as a reference, to get an idea of how the lenses compare against each other in the corners. As you can see, both perform about the same, with no notable difference between the two. Let’s see what happens at f/4.0: The following sequence of photos was taken at f/1.4, f/2.8, f/4, f/5.6, f/8 and f/16. NIKON Z 9 + Pergear 35mm f/1.4 ISO 64, 1/60, f/1.4 NIKON Z 9 + Pergear 35mm f/1.4, ISO 64, 1/25, f/2.8 NIKON Z 9 + Pergear 35mm f/1.4, ISO 64, 1/13, f/4 NIKON Z 9 + Pergear 35mm f/1.4, ISO 64, 1/8, f/5.6 NIKON Z 9 + Pergear 35mm f/1.4, ISO 64, 1/4, f/8 NIKON Z 9 + Pergear 35mm f/1.4, ISO 64, 1/2, f/16 The Nikon 24-70mm f/2.8S is a great lens for photographing full body shots and it does equally well when taking pictures of groups. Additionally, it is one of the sharpest zoom lenses we’ve tested at Photography Life.

The lens is much bigger and heavier compared to other Nikon 35mm lenses such as Nikon 35mm f/2D and Nikon 35mm f/1.4 AIS, making it the biggest and heaviest 35mm prime produced by Nikon to date. The Nikon 35mm f/1.4 feels very solid in hands and the focus ring is conveniently located in the front of the barrel, making it easy to manually focus with a thumb and index fingers while shooting images or video. The lens comes with the “HB-59” lens hood, which is a little bulkier than the “HB-51” that comes with the 24mm f/1.4G. It snaps on the front of the lens and sits tight without wobbling like some other Nikon lens hoods.

What type of photographer are YOU? We’d really love to know, please leave a comment!) tamron SP 35mm f/1.4 Di USD | Compared To The Competition It is true that wide-angle lenses distort subjects at close distances and I would certainly avoid using such lenses for close-up portraiture. However, that’s not how one should use these lenses in the first place! Wide-angle lenses are very useful in wedding photography. For example, if you want to showcase the bride in her surroundings, you can do that with a wide-angle lens: NIKON D750 + 20mm f/1.8 @ ISO 720, 1/40, f/5.6 The Nikon 35mm f/1.8 G AF-S' all-plastic construction works and feels great today, but don't come whining to me in thirty years if Nikon can't fix or supply circuit boards or AF motors. It is important to note that Z-mount lenses are only designed to be used on Nikon’s Z-series cameras that have industry’s shortest flange distance of 16.0mm, which means that they cannot be adapted on any other camera system on the market today (see lens mounts explained for more information). NIKON Z 6 + NIKKOR Z 35mm f/1.8 S @ 35mm, ISO 100, 1/1600, f/2.8 Lens Handling and Build Quality I’m not going to hold this against Tamron or this lens in particular, though, it’s just something I want to remind all DSLR shooters to consider whenever they’re getting new gear, or heavily abusing their gear every month.

In this shot, I'm staring directly into the summer sun and adding one stop exposure compensation, and then lightening the palm, and still no ghosts. Maximum Aperture – the Nikon 35mm f/1.8G has a maximum aperture of f/1.8, while the Nikon 50mm f/1.4G has a maximum aperture of f/1.4. Both lenses are very fast, but the 50mm can pass through slightly more light than the 35mm lens. When compared to previous generation Nikon 35mm lenses, ghosting and flare are controlled well, thanks to the Nano Crystal Coat. The amount of flares and ghosting will depend on where you position the light source in the frame. Shooting directly at the sun, you will most definitely get some flares and ghosting if the sun is in the middle of the frame, as seen below. As you move the light source towards the corners, the size and length of ghosting/flares can get dramatically bigger, so take this into consideration when shooting in the field. If you see a strong amount of ghosting and flares, try moving the light source in your frame to see where the effect is minimal and acceptable. Take a look at this shot of the Mesa Arch at f/8.0: NIKON D700 + 35mm f/1.4 @ 35mm, ISO 200, 1/80, f/8.0 When it comes to autofocus performance, the Nikon 35mm f/1.4G behaves very similarly to the 24mm f/1.4G and other recently announced Nikon primes. The lens snaps into focus fairly well even in low-light situations, but the speed clearly lags behind the AF-D counterparts (see the AF performance comparison in the video). If you compare AF performance to the Nikon 14-24mm or Nikon 24-70mm lenses, you will see the difference right away – the latter autofocus faster. When the lens focuses, it virtually produces no noise, due to the Silent Wave Motor (SWM) technology in the lens. You will only hear a short lens snap when it gets to infinity and minimum distance marks.

To me, the images look beautiful. Despite being optically complex, bokeh characteristics are incredibly smooth and creamy. Sunstars

If you’re this type of photographer, then you might consider an alternative, as there are indeed a couple of ultralight 35mm primes for both Canon and Nikon that you can choose from. Falloff on FX and 35mm can be visible at f/1.8 and f/2, and gone by f/2.8. With cameras that offer vignette correction, falloff is only minor even at f/1.8.

Impression

Instead of filters, however, you’ll probably want to use the thread to mount the supplied metal lens hood. This is a screw-on type hood, and it fits onto the filter thread itself. If you want to use a filter, you can screw a 52mm filter directly into the lens hood, but be prepared for some added vignetting. More on that later.